Water in the Artistic Representation of the Landscape of Southwestern Vietnam: The Case of The Abandoned Field, The Buffalo Boy, and The Floating Lives

ABSTRACT

The interlaced terrain of rivers, canals and living and working habits associated with the water environment have formed the river culture of the people of the Southwest region of Vietnam. In creating their scenic narratives, many cinematic works use the element of water as an artistic code to reflect lives and convey human messages. This article examines from the perspective of landscape criticism three films set at different periods of Vietnam’s recent history—Cánh đồng hoang (The Abandoned Field, directed by Hong Sen, 1979), Mùa len trâu (The Buffalo Boy, directed by Nguyen Vo Nghiem Minh, 2004) and Cánh đồng bất tận (The Floating Lives, directed by Nguyen Phan Quang Binh, 2010). These three case studies enable an analysis of the water element in the artistic representation of the landscape of Southwestern Vietnam to see the role of this element in art, and its influence on cinematic language, not only in the natural context but also in terms of culture and history. Pointing out both the similarities and distinctiveness of each film shows how they each exploits the same landscape element to establish the artistic value of cinema.

KEYWORDS:

• Water element
• landscape of Southwest Vietnam
• The Abandoned Field
• The Buffalo Boy
• The Floating Lives

Note

All translations in this paper of Vietnamese texts into English, if there is no specific notification, are the author's own.

Acknowledgements

The author gratefully acknowledges the support of the Vietnam National University, Hanoi and VNU University of Social Sciences and Humanities. Furthermore, the author would like to thank Hoang Cam Giang (VNU University of Social Sciences and Humanities). She would like also to thank the reviewers for their constructive feedback and the journal editors for their help with the final revision.

Disclosure Statement

No potential conflict of interest was reported by the author(s).

Additional information

Funding

This research is funded by Vietnam National University, Hanoi (VNU) under project number QG.18.52.

Notes on contributors

Hoang T. N. Nguyen

Hoang Thi Nam Nguyen, Ph.D., is a lecturer of the University of Social Sciences and Humanities—Vietnam National University, Hanoi. Her research interests include contemporary Vietnamese literature and film and gender study. She has published tens of papers in journals and conference proceedings and a treatise.